Palace Architecture Research Articles

Eksplorasi Etnomatematika pada Bangunan Cagar Budaya Ukiran Relief Istana Maimun di Kota Medan

Ethnomathematics is a field of study that combines mathematical concepts with cultural elements in people's lives. Maimun Palace, as one of the Malay cultural heritages located in Medan, North Sumatra, offers many examples of the application of ethnomathematics in its architecture and design. This research aims to explore how mathematical concepts, such as geometry, symmetry, fractals and proportions, are implemented in the building structure, ornaments and spatial layout of the Maimun Palace. The palace's architecture reflects a blend of local Malay, Islamic, Indian and European cultural influences, each of which carries unique mathematical values. In addition, symbolic elements of certain numbers are also found in the palace design, reflecting the cultural beliefs and philosophies of the local people. The results of this research show that the Maimun Palace is an important example of how mathematics is not only applied in a technical context, but is also influenced by beliefs, aesthetics, and cultural traditions. This study contributes to increasing understanding of the relationship between mathematics and culture and the importance of preserving cultural heritage through a multidisciplinary approach such as ethnomathematics. The method used is qualitative using library research

Research on the yingzao chi restoration of palace buildings sans dougong in Ming and Qing Dynasties: a case study of Chongqing

As a unit of measurement for Chinese ancient construction, the yingzao chi (yingzaochi 营造尺) is of great significance to study long-term transformation of culture, construction skills, and the scale design rule of Chinese regional architectural heritage. But few scholars study the restoration method of the yingzao chi of palace buildings sans dougong (斗拱) in Chinese Ming and Qing Dynasties. Based on the yingzao chi theory, this paper studies and improves a theoretical method to help restore the yingzao chi of palace buildings sans dougong in Ming and Qing Dynasties. This method is not limited by the lack of reference of vernacular chi (xiangchi 乡尺) and can restore the yingzao chi of a single building through surveying data, and there is a smaller error in the calculation process. Three typical palace buildings without dougong in Ming and Qing Dynasties in Chongqing are selected as examples. The results show that the restored yingzao chi of these three buildings is highly similar, most likely 320.7–323.6 mm, which can verify the reliability of this method. This study can help to improve the research of yingzao chi and provide theoretical support for the protection of this kind of architectural heritage. Besides, the restoration of the yingzao chi provides a potential opportunity to explore how the technological and cultural of palace architecture spread, develop and blend.

The Field of Memory: Cultural Memory in Tang Dynasty Leyouyuan Poetry

This paper explores the cultural significance of Leyouyuan-themed poetry in the Tang Dynasty from three perspectives. Firstly, in terms of material significance, Tang poets preserved the remnants of Leyouyuan through their poetry, creating the distinctive regional characteristics of Leyouyuan. Their depictions of natural scenery and palace architecture on Leyouyuan unconsciously transformed it into a symbolic and carrier of historical memory. Secondly, in terms of functional significance, Leyouyuan possesses rich and unique historical memories, including the festive joy, solemnity of temple activities, and cultural exchanges between China and foreign lands. These activities are presented in the space of Leyouyuan, recorded by Tang poets, thus activating complex and multidimensional collective memories. Thirdly, in terms of symbolic significance, the emotional attachment to Leyouyuan presented in Tang poetry highlights the timeless charm of Leyouyuan, becoming an unconscious collective abode. The symbolic significance of Leyouyuan as the field of memory is further emphasized.

′Symbols′ as Expression Tools of Islam and Their Usage Methods in Palace Architecture

Islamic architecture consists of religion, politics, philosophy, and aesthetics. The religious expression of symbols in Islamic architecture is also extremely important in architecture. These religious symbols, which are used in palace buildings and generally in administrative places in the Islamic world, are shaped depending on the function of the buildings. In this period, the palace complexes were considered to be the most important structures representing state politics and economy. In this study, the purposes and methods of use of religious symbols used in many palace complexes of Islamic architecture were investigated. While investigating the main source and usage rules of these symbols in palace architecture, the Quran, which is the foundation of Islam, was examined and the dependence of these symbols on numbers was tried to be revealed with examples.

Memories of National Museum visitors: remembrances that will not fade

The Observatório de Museus e Centros de Ciência e Tecnologia (OMCC&T) conducted research entitled Remembrances, Memories, Impacts: What Constitutes the Public of a Science Museum?. A total of 619 forms were filled by visitors of six different museums, of which 87 were drawn to be interviewed about their recollections related to visits to museums. Since over 70% of the memories refer specifically to the National Museum, we chose to focus on these interviewees. With document analysis, which included regiments, institutional reports, photographic collection and journalistic articles, the research investigated the history of the institution, obtaining important elements that help to understand the construction of the relationship of the Museum with its various publics throughout its two thousand years. The historical approach highlights, among other information, the original and current location of the institution and its related problems; the participation of the media in the dissemination process; the configuration of the Museum’s grand collection; the sharing of the territory with a public park and zoo, which conferred on the site characteristics of family and social leisure as well as many visitors throughout the decades. The speeches from the interviewees formed the second pillar of the study, which detailed the emotional bonds of their memories. The reports were characterized by valuing family connections, feelings of happiness, amazement at the magnificence of the palace architecture and the collection, in addition to the deep sadness experienced by the fire that destroyed most of the National Museum property.

Конструктивне рішення віконних рам та використання скла у середньо- та пізньовізантійській храмовій архітектурі

The purpose of the article is to investigate the constructive solutions of windows, window frames, production and use of glass (including stained glass) in temple buildings of the Middle and Late Byzantine periods on the basis of preserved, described in sources and found ar- tifacts. Th e research methodology is based on the principles of historicism, comparative analysis, induction and deduction. An interdisciplinary methodology is used – approaches of global history, which are based on data, fi rst of all, obtained from archaeological, geographical and chemical research, as well as a comparative method and a method of analysis. The scientifi c novelty is due to the need for a thorough study of all aspects of the temple architecture of Byzantium, since today there is a great need for the restoration/reconstruction of the monuments of Roman civilization, both from the point of view of the development of tourism in the region, and for the preservation of material cultural heritage for posterity. Conclusions. The development of window glass production technology actively infl uenced its shape, size and quality. Accordingly, the direction and degree of natural lighting in the Byzantine temple depended on this. Th e shape of the windows (as well as their size) diff ered by location in diff erent parts of a particular temple (gallery walls, dome drums, apses, stair towers, etc.). The traditional types of Byzantine windows, which were found in both temple and palace architecture, are arched, round and semi-round (as well as single, double and triple). Based on the preserved window openings, it can be understood that the glass was made of a small size. For the production of window glass, workshops-ergasterias were used, where glassware was made. Th e main raw material for glass making is silica, i.e. sand, and additional impurities are potash or sodium soda. They could also add lime, ground shells and oxides of various metals to colour the glass. In the Middle and Late Byzantine period, window glass is a very rare fi nd. Th e most common form of window glass was rounded oculi, or “crown glass.” Th e typical design of a Byzantine window consisted of a lattice frame “transene” (plaster, marble, wood or lead) and inserted into it 2 or 3 rows of paired small, round, fl at glasses of the oculi type. Both ordinary col- oured and stained glass were used in Byzantine architecture.

Determinant of architectural features of Istana Bandar Alaeddin Selangor

Architecture developed by humanity is the most sophisticated phenomenon relevant to the context of the environment, which is the context in which man and his environment interact with each other, were an essential component of architectural heritage growth. In this study, the main purpose is to look at the presence of art man-made construction of the palace, a building that played a significant role in the history of Malaysia. In this study context, a palace can be an olden history meant a residence for the ruler or head of the state, and often served as a place of administration. This palace can be seen in Malaysia for a certain period. This study will address the closely related evolution of the architectural features of the Palace in Malaysia that can be seen from the pre-colonial period, the colonial era, and before independence. The method of this study used a qualitative researcher observation. Architecture elements and features will adequately determine. Istana Bandar Alaeddin was chosen and considered a unique design element of royal palace architecture. The spatial organization of the palace is put together to make it work the way it does. The primary result shows that the conquerors of the past events made their influence touch on the development of architecture in Malaysia as a sign in the features of the Palace building together with vernacular concepts hybrid with different cultures. Thus, this finding can be a documentation of architectural features to become a reference for future generations about our previous culture and history and for authority to maintain and conserve this heritage building.

Seismic evaluation of a traditional Chinese palace-style timber structure

To assess the seismic performance of a traditional Chinese palace-style timber structure, an extended discrete element method (EDEM) model has been established. The model has been applied to analyze a single-story and five-bay timber-frame palace architecture, where sliding isolation of the column foot, semi-rigid connections of mortise and tenon joints, and damping characteristics of bracket sets (known as Dougong in Chinese) have been considered. The study investigates the dynamic characteristics, seismic responses, and structural vulnerabilities of the palace building. Results show that an error of the natural frequency between the EDEM model and results from code-recommended empirical formulas is only 6.88%, highlighting the rationality of the EDEM model. Furthermore, the relative displacement response of each position increases with the increment of inputting acceleration of seismic waves. The inter-structural layer drift of the column-beam frame is the largest and that of the roof truss is smaller, while Dougongs are the smallest. The likelihood of moderate damage is highest during a small earthquake, while the structure is prone to severe damage under a medium earthquake, The structure is susceptible to collapse under a large earthquake.

Analyse the differences in origin and layout of Chinese Buddhist and Taoist architecture

This article mainly lists differences between Buddhist and Taoist architecture in China, and compares them in various aspects by analyzing the layout and origin of the architecture and combining religious meanings. As an important material manifestation of Chinese local religion, temple architecture not only represents the cultural core of Chinese religion, but also reflects the cultural heritage and profound connotations of Chinese religion. Chinese religious architecture combines the ideas of classical palace architecture and garden architecture design, so temple architecture can be regarded as a treasure in Chinese architectural art. As a cultural symbol and microcosm, they also greatly enhance the importance of people’s understanding and protection of religious architectural art. The article combines the viewpoints of multiple experts to supplement and explain the core points of the article, and preliminarily explores the main reasons for the formation of the layout and style of Buddhist and Taoist architecture. Through research, the author aims to deeply explore the design differences between Buddhist and Taoist architecture.

К ВОПРОСУ О ФИГУРАТИВНЫХ МОТИВАХ В ФАСАДНОМ ДЕКОРЕ ПАЛАЦЦО ПОДЕСТА В БОЛОНЬЕ

The article focuses on the structure and semantic analysis of figurative reliefs in the façade decoration of the Bologna palazzo del Podestà (13th – 15th c.), which was rebuilt in Renaissance style in the epoch of Giovanni II Bentivoglio (ruled in 1463–1506) and presents an important example of Quattrocento palace architecture in the northern Italian region of Emilia Romagna. The problem of the palace reconstructions makes it necessary to look at its decoration in the broader context of 15th century secular buildings in Bologna and Emilia Romagna. Consequently, firstly, three groups of reliefs are discerned (prevailing floral reliefs, zoomorphic and anthropomorphic reliefs, reliefs on historical subject). Secondly, the “retrospective” character of many elements concerned seems obvious and may be explained as inspired by local as well as tramontane Romanesque decorative tradition. Thirdly, semantic interpretation in the historical context of Bologna is accepted as applicable not only to the reliefs on historical subject here, but also to other carvings.

АНТИЧНІ ОБРАЗИ І ФОРМИ В АРХІТЕКТУРІ ПАЛАЦІВ КІН. XVIII – ПОЧ. XIX СТ.

The article defines antique images and forms in the architecture of palaces of the late 18th and early 19th century It was determined that the architectural and artistic system of classicism, preserving and repeating stable antique images and forms, was established in the compositional solutions of palace buildings on the territory of Ukraine, which for a long period of time preceded, coexisting in parallel with other stylistic currents. The development of the stylistic tendencies of classicism in palace architecture developed in the context of the pan-European architectural school and reflected its ideological and artistic diversity. The architecture of classicist palaces and palace complexes had the imprint of “antiquity” and the influence of the Palladian school, characterized by such typical elements as: water systems – a mandatory element of the palace-park complex; each palace-park complex included not only a well-planned park (garden), but also numerous promenades and a hunting park (forest). The general composition of recreation consisted of the following structural elements: a park (garden) for walks, a menagerie, an orchard, “garden in ants” (an interesting method of growing heat-loving plants in the village of Samchyki, Khmelnytskyi region). Each complex was multifunctional, consisting of such types of buildings as: palace, household, service and cult buildings, a complex of entrance gate and fence buildings, park buildings. The palace was always located on an elevated area with a beautiful view. The architecture of the buildings of the palace and park complexes is characterized by strictness and perfection of style. The facades of the palaces had a clear symmetrical composition, which was decorated with massive porticoes with a colonnade. The main constructive scheme of the palaces was a two-tract scheme (enfilade-type rooms were located along the park and main facades). Rectangular in plan palaces, were supplemented with protruding risalites. The rear facades, like the main ones, were decorated with a portico with a colonnade. The four-pitched roof was decorated with a massive chimney (blocked chimney groupe). Window and door openings are rectangular, discreetly decorated. The tympanums of the pediments are filled with sculptures with cartouches and military elements. Architectural elements used classicist order elements, complemented by sculptures, bas-reliefs and military emblems. The palaces were modestly decorated on the outside and luxuriously decorated on the inside with stucco and distinguished by color. The main decoration of the palace was the living room (mostly with a domed vault, which is decorated with stucco)

Understanding the Socio-cultural Sustainability of Kedah Royalty and the Influences on the Palace’s Architecture

Socio-culture is a fundamental and common rule of a society that influences, controls, and directs the lives of individuals and societies. As the rulers with the most significant social status in a particular community, the Royals’ socio-culture is more sophisticated than commoners and heavily affected by royal customs and traditions. The royals’ socio-culture then affected the architecture of the palaces, notably the space arrangement, supporting the idea that socio-culture influences the constructed environment. This study aims to explicit the Kedah royalty’s socio-culture characteristics and influences in terms of traditional palace design in general and space arrangement. Qualitative approaches employ an analytical assessment of literature, historical and documentary sources, measured drawings and photos, site observation, and personal interviews to fulfill the study aims. The availability of secondary material and the absence of references limit the scope of the inquiry. According to the findings, the Kedah royalty’s socio-culture, including the activity system, privacy, family structure, the role and status of women, and social interaction, affected the characteristics of the residence palace architecture, notably the space arrangement. The case study demonstrates the Malay royal’s socio-cultural sustainability and relationship to palace architecture. Socio-cultural sustainability is a social development resilience component that shapes society’s future and the environmental aspects. The socio-cultural sustainability of the royal decree and ceremony is the essence of the hierarchical status between the royalty and the people that must be preserved as the civilization acknowledgment. The environmental aspects, such as the location of the dedicated palace influenced by the natural features like the mountain, river, and the sea, has definite practical meaning as the future references.

MODERNISASI ARSITEKTUR TRADISIONAL ISTANA DALAM LOKAL DI SUMBAWA (STUDI HISTORIS ARKEOLOGI)

The traditional architecture of the Dalam Loka Palace in Sumbawa is a historical heritage that is stored in local culture as a royal residence. This palace was built in 1885 during the reign of Muhammad Jalaluddinsyah III which was used as a resting place for the royal family. The purpose of the research is to see the history and development of palace architecture along with the renovations that do not cause a shift in values, let alone cause the loss of meaning and social function as well as the local wisdom contained in it. The method used in this research is using a qualitative descriptive approach that starts from the stages of source collection (heuristic), criticism (verification), analysis and synthesis (interpretation), and writing (historiography), observation, interviews, literature study. The results show that the modernization referred to in the traditional architecture of the Istana Dalam Loka is to carry out a thorough restoration without changing the meaning as a moral basis that is embedded in the value of the existence of the palace in local Sumbawa.

MODERNISASI ARSITEKTUR TRADISIONAL ISTANA DALAM LOKAL DI SUMBAWA (STUDI HISTORIS ARKEOLOGI)

The traditional architecture of the Dalam Loka Palace in Sumbawa is a historical heritage that is stored in local culture as a royal residence. This palace was built in 1885 during the reign of Muhammad Jalaluddinsyah III which was used as a resting place for the royal family. The purpose of the research is to see the history and development of palace architecture along with the renovations that do not cause a shift in values, let alone cause the loss of meaning and social function as well as the local wisdom contained in it. The method used in this research is using a qualitative descriptive approach that starts from the stages of source collection (heuristic), criticism (verification), analysis and synthesis (interpretation), and writing (historiography), observation, interviews, literature study. The results show that the modernization referred to in the traditional architecture of the Istana Dalam Loka is to carry out a thorough restoration without changing the meaning as a moral basis that is embedded in the value of the existence of the palace in local Sumbawa.

SANGKAN PARANING DUMADI SUMBU FILOSOFI YOGYAKARTA: DALAM LENSA FENOMENOLOGI-HERMENEUTIKA

The Philosophy Axis of the Yogyakarta Palace reflects the human journey from a fetus, a baby, growing into a child, a teenager then an adult human being, having a family, aging and finally dying. The complete journey of human life is reflected in the philosophical expression of Sangkan Paraning Dumadi as the teachings of Islam are innalillahi wa innailaihi roji'un (QS. Al-Baqarah [2]:156). The philosophical concept of the heritage of the Javanese poets by Prince Mangkubumi is manifested in the form of the Yogyakarta Palace architecture. This article reviews the relationship of religion and culture with the Axis of Philosophy of Yogyakarta City within the framework of Javanese-Islamic typology through a phenomenology-hermeneutics of Husserlian-Heideggero-Gadamerian.

Михайловский (Инженерный) замок в истории книжной культуры Петербурга – Ленинграда

Mikhailovsky Castle is an outstanding monument of palace architecture, in the XIX–XX centuries it was one of the important elements of urban book culture. During the specified period in the building there were own, public, special and scientific libraries, unique on the art, historical, cultural value. Among them are collections of emperor Paul I; engineer general P. K. Sukhtelen; Free society of literature, of sciences and arts, Saint Petersburg Mineralogical society, Nikolaev engineering academy and school, Central naval library, Central scientific and technical library. Particular attention in the work is paid to the attempt of the cultural and political elite of Leningrad and the Council of Ministers of the RSFSR in 1947–1949 to organize in the castle a branch of the M. E. Saltykov-Shchedrin State Public Library. The study was carried out based on various historical sources, including unpublished documents from the central and departmental archives of Saint-Petersburg, some of which are first introduced into scientific circulation

Ключевые проблемы изучения дворцовой архитектуры Болоньи эпохи Кватроченто на рубеже XX–XXI веков: ретроспектива и перспективы

The article focuses on the studies of Bologna Quattrocento palace architecture which are getting more relevant along with a current growing interest to Italian Renaissance regional styles. At the turn of the 20th–21st centuries, scientific approaches to the mentioned architecture have been characterized by new tendencies. Three of them have been the subject of our special analysis aimed to reveal their actual peculiarities. The tendencies mentioned can be defined as “retrospective”, “monographic”, and “prospective” accordingly. The first one implies new attention to the “positivism era” local research, the second one deals with a constantly widening range of new monographic publications on different buildings, and the third one touches upon a question of Bologna palaces in a general European context. Firstly, the studies of the “positivism epoch” have been represented today, seen anew, in contemporary works. This fact induces one to choose a bilateral approach. On one hand, to turn to the above said period as it is (with research practice, its results and publications on the eve of the 20th century, data on demolished buildings, historical causes of Renaissance Bologna palaces’ intense research in the years of Risorgimento, as well as “Amilia ars” group activity (1898), work of A. Rubbiani and F. Malaguzzi Valeri especially). On the other hand, the contemporary approach to the old research is two-fold as well: generalizing the information and knowledge accumulated, giving “assessment” of achievements (A. M. Shanken, V. Rubbi), and stimulating new facsimile editions. Secondly, a widening range of publications on different palaces (S. Bettini, for one) is mostly in tune with a so-called social history of art, demonstrating at the same time new possibilities of reconstructing initial image of Bologna Quattrocento architecture (M. T. Sambin De Norcen, R. Schofield). Thirdly, a signal example of a new interest to Bologna 15th century palaces and its history in European context is provided by the example of Bologna portico. Special work on porticoes was partly inspired by a nomination of Bologna porticoes to the UNESCO World Heritage List (F. Bocchi, R. Smurra).

METALLIC ARCHITECTURE OF CHINA IN LATE MIDDLE AGES: TYPOLOGY AND ARTISTRY

The article considers the use of copper-alloy and iron casting technology in China from the Song dynasty (960–1279 AD) to the Qing dynasty (1644–1912 AD) inclusive. The architectural typology covers cult buildings – Buddhist and Tibetan-Buddhist pagodas, Taoist temples, and secular park pavilions. The specifics of the technology and artistic expressiveness distinguishing Chinese metallic architectural structures are identified based on concrete examples using the formal stylistic method of art analysis and technical analysis method. It is concluded that the metallic architecture did not work out new structural and art forms, the casting technique reproducing the structures and décor of wooden prototypes. This was associated with both the conservatism of visual perception and centuries-long standardized forms of cult and palace architecture. The casting technology potentialities enabled the structural and decorative features of wooden prototypes to be reproduced in every detail.

The Design of Hydrophilic Coastal Architecture under the Background of Marine Culture Integration

Jia, Z., 2020. The design of hydrophilic coastal architecture under the background of marine culture integration. In: Guido Aldana, P.A. and Kantamaneni, K. (eds.), Advances in Water Resources, Coastal Management, and Marine Science Technology. Journal of Coastal Research, Special Issue No. 104, pp. 907–912. Coconut Creek (Florida), ISSN 0749-0208.The hydrophilic coastal ancient architecture has experienced several historical stages from nest to dry fence architecture, to courtyard architecture and loft architecture in the Central Plains, and then to the appearance of palace architecture, western style villa and business street arcade architecture. It has formed the phenomenon of multiple architectural culture integration and symbiosis, which embodies the integration, pragmatism, flexibility, emotion and business worship of hydrophilic coastal ancient architecture, openness and other marine cultural characteristics. At present, we should continue to innovate and develop hydrophilic coastal architectural culture, endow it with New Era Connotation and modern expression form, and carry forward Chinese traditional architectural culture.

Significance of Ornamentation in Yoruba Traditional Architecture

Culture and tradition are vital constituents of traditional architecture. However, in the period of proliferation and modernism,traditional architecture is fast disappearing in most parts of Africa due to negligence and incredulity of its importance. Reassessment becomes necessary as traditional architecture can be a source of inspiration even in contemporary times. Throughreview scoped literature, this study takes a critical look at how culture affects ornaments of architecture in Nigeria with Yorubaas a case study. This paper explores significance of ornamentation in Yoruba palace architecture. This means the creative objectswithin the old palace (‘afin’) constructed when the city was formed, including the courtyards (‘akodi’) and other structures withinthe palaces. It concludes with attributes of different palace ornamentation with clear direction on key roles in the study palacecultural belief and traditions. Data was sourced from fieldwork, oral interviews and relevant literature. Purposively selectedphotographs of palaces ‘Afin’ are used in discussing the state of the architecture and sculpture objects, therefore raises theenquiry of their connotation for upcoming generations. In other words, ornamentation has a basic statement for which it wascreated (meaning); the mutual concern and relevance of such artifact, form, or object gives it a name, root and status in additionto identity as the material culture of the designing community. The study reveals the benefits of palace ornament to Yorubatradition and culture and the importance of culture and history of people if the memories of their past are celebrated and theircenotaphs and antique places of pride are intact. This paper suggests that elements of palace ornaments like art and heritage architecture in Yoruba palace ornamentation have become a natural occurrence